Uta Reinhardt's pictorial creations encourage the viewer to various interpretations. Each of her paintings seems to have been created according to its own law. As a matter of fact, anyone, who tries to summarise the very different motifs in her pictures in their thoughts and to find their relation to one another within their content, will hardly advance to the core of Reinhardt’s work.

The pictorial and graphic work of Uta Reinhardt is so enigmatically rich and so confusingly diverse exactly because it has not been conclusively constructed according to content ideas, but is created with purely painterly means, namely with brush and pen. In other words: Uta Reinhardt can inspire the viewer to intensive thoughts, not because her painting is figurative, but because her forms are spontaneously free abstracts over long stretches of time, which emerge out of her spontaneous and highly vivid forms. Her paintings seem captivating because the motifs are embedded in large painterly compositions which can be experienced and enjoyed with or without interpreting their content.

If you look at the representational hints in Uta Reinhardt's painting, you will reckon that these motifs, assumed from reality, have been chosen not for their content interpretability, but because of their pictorially usable exhibition value, their formal attractions, their scenic surprise effect. The people appearing in the paintings take quite unusual poses. They climb walls, squat on the ground, kneel in front of ladders, lean against window shutters, exercise on beds, throw balls and ride animals. The scenic effect of the chosen gestures is cleverly calculated, but is effectively broken or subtly enhanced by foreign motifs which intervene or by painterly contrasts - the blurred meets the overly sharp, the abstract meets the representational.

How the painter continues to shape the discovered patterns with colours and translates the observed motoric forces into painterly energy can be experienced even more clearly in how the animal are constituted. The cat pictures, brought onto paper with a few whirling lines and two or three watercolour wipers, can be enjoyed as abstract improvisations, but then again impart something of the animalistic power of these animals in the most subtle way. And the many talking variants which Reinhardt has taken from a roebuck's head indicated with just a few brush gestures show the desire with which she transforms and envisages a motif reduced to a few components - eyes, ears, horns, muzzle - into a sparkling painting and the abundance of the individual expression she is able to win from a mask.

Within a relatively short time, Uta Reinhardt has created a world, in which real motifs can lift into the mystery at an astonishing ease and abstract worlds of colour become so dense that they begin to talk. The playing possibilities she has opened up with this method are almost infinite.